OTT & Transmedia

Amazon’s Fallout series has been a massive win, not just for fans of the games but as a clear-cut success story for transmedia strategy. This new blog from MIDiA Research breaks down how Fallout is more than just a show, it’s a masterclass in expanding a preexisting IP into a new format without alienating the original fanbase.

But the article also raises a smart question: how do we evolve transmedia strategies beyond just extensions of gaming IP? Can we build experiences that originate from shows, books, or even podcasts with the same kind of cultural resonance?

Check out the article here:

https://www.midiaresearch.com/blog/amazons-fallout-is-another-success-st...

Then let’s talk:

What other examples of successful transmedia storytelling have inspired you? And if you’re building your own universe, how are you thinking beyond a single medium?

Hi there,

I came across this article in one of my Google Alerts (it's a great way of staying on top of what's happening in the industry) and it offers a great overview of the VOD industry with some interesting snapshots. If you are into 'churn rates', then this article is for you!

Here's one bullet point from the article:

Among young viewers aged 18 to 34, 66% prefer using free streaming apps with ads over paying for ones with no ads.

So, it appears that SVOD has a long way to go, in its appeal to younger viewers, no doubt based on affordability. That however, is just one snapshot from it.

What are your thoughts on the data?

https://www.coolest-gadgets.com/video-on-demand-statistics/

Starring Jack Black, Jason Momoa, and Danielle Brooks, A Minecraft Movie surprised everyone by raking in over $700 million within just a few weeks. Critics were skeptical, fans were divided, and yet, something about it worked.

This breakdown dives into why Minecraft succeeded where so many game-to-film adaptations fail, and no, it’s not just about brand recognition or big-name casting. The filmmakers tapped into a key emotional element of Minecraft’s DNA that most adaptations overlook, and it paid off in a major way.

Whether you’re developing your own transmedia project, adapting IP across mediums, or just passionate about how stories move across platforms, this video is packed with insights worth paying attention to.

Watch here: https://www.youtube.com/watch?v=YSdDu7cukyc

What do you think studios and creators should prioritize when adapting a beloved IP across media? Let’s open it up for discussion!

(https://theconversation.com/why-film-adaptations-of-popular-video-games-...)

The Sandman season two has its Netflix release date.

I really enjoyed the first season and have been waiting for this for a long time.

How about you? Are you a fan of The Sandman? Who has been the best character so far?

https://variety.com/2025/tv/news/the-sandman-season-2-release-date-tease...

Pop-up experiences tied to film, TV, and streaming content have become huge in recent years, and it feels like we’re only scratching the surface of what’s possible in this space.

From Stranger Things pop-up stores, to The Last of Us immersive haunted house, to fan events recreating sets, costumes, or food from beloved shows: these experiences have become a powerful tool for transmedia storytelling and audience engagement.

They create something every fan wants: the chance to step inside the world they love.

For indie creators, this raises such an exciting question: how can smaller-scale or indie projects use this same strategy? What does a pop-up experience look like for a short film, a web series, or a graphic novel? It doesn’t have to be expensive, it just has to be memorable and rooted in story.

Have you attended a pop-up or immersive event connected to a show, movie, or game that stuck with you? Are you working on a project where this kind of experience could deepen audience connection?

Let’s talk creative ideas and examples: I’d love to hear how you all see pop-up experiences evolving in transmedia storytelling.

There’s a quiet tragedy unfolding in a galaxy far, far away.

It’s not the recycled plotlines. It’s not even the divisive sequels. It's not the fans being "too nostalgic" or the actors being harassed online. It’s something more fundamental — something that once made Star Wars feel alive and now makes it feel... flat. The worldbuilding, once vibrant and mythic, has slowly eroded into a checklist of aesthetics and references. And this collapse is starting to cripple everything Star Wars touches, from Disney+ shows to comics, games, and toys.

Once Upon a Time in a Used Universe

Star Wars once had some of the best worldbuilding in pop culture. The "used future" of the original trilogy — sandblasted speeders, dented helmets, grimy cantinas — made the galaxy feel lived-in. It wasn’t just the visuals; it was the cultural depth. Jedi weren’t just space wizards — they were echoes of samurai, monks, and Arthurian knights. The Empire wasn’t just bad guys — they were a sci-fi reflection of fascism. Every background alien hinted at a wider galaxy. Every piece of tech told you something about who used it and why.

The world didn't explain itself because it didn’t need to. You felt it.

Compare that to today’s Star Wars, where entire planets exist just to be blue backdrops, and cultures exist for exactly one plot beat before they’re discarded. Characters jump from planet to planet like it's UberEats, but none of the places matter. Nothing feels rooted. It's cosplay worldbuilding — the kind that looks like Star Wars, but has no inner logic.

Lore Bloat Without Lore Depth

Star Wars has become obsessed with explaining things that don’t need explaining, while ignoring the things that do. Want to know how Han got his last name? Here's a scene for that. But want to understand how the New Republic collapsed so fast after winning the war? Or how the Force is understood in different cultures? Too bad.

Instead of building out the galaxy, recent entries collapse it inward. Everything is connected to the Skywalkers, the Death Star, or Tatooine. There’s a whole galaxy out there, but we’re stuck doing laps around the same ten plot points. The High Republic tried to go wide, but even that struggles under the weight of a franchise afraid to move beyond legacy.

It’s a galaxy that refuses to grow — or worse, one that pretends to, but always snaps back to its comfort zone.

Transmedia Is Suffering

Transmedia storytelling — comics, novels, games, shows — should be Star Wars' secret weapon. But it’s turning into an anchor.

Without a strong, evolving world, these spin-offs don’t feel essential — they feel like homework. A new show doesn’t expand the mythos; it patches plot holes. A new book doesn’t unveil a forgotten legend; it retrofits a character arc. The connective tissue has turned into duct tape.

Look at The Mandalorian. It started strong because it felt new — the Outer Rim, a lone bounty hunter, moral ambiguity. Then it became a cameo carousel for other shows. A backdoor pilot machine. Andor was a rare exception, but even that sits in a prequel box, trapped by canon. Meanwhile, the games (Jedi: Survivor, for instance) build stronger stakes than the films — but even they’re hamstrung by the need to tiptoe around the “big stuff.”

When transmedia feels like filler rather than foundation, you're no longer worldbuilding. You're brand-building.

The Heart of the Problem: Star Wars Is Afraid to Let Go

The biggest issue? Star Wars doesn’t trust its own galaxy anymore. It clings to the Skywalker saga like a security blanket, terrified of what happens when it steps outside. Every new thing has to tie back to something old. Every old thing must be repackaged and resold. That’s not storytelling — that’s taxidermy.

The irony is that Star Wars was once the boldest myth in pop culture. Now it’s cautious. Hesitant. Safe. And in a genre that thrives on imagination, safety is the kiss of death.

Worldbuilding isn't just maps and names. It’s the art of making a place feel real — so real, you want to live there. Star Wars used to do that. Now it sells the illusion of it.

And unless it finds its mythic courage again — unless it remembers how to build stories beyond the Skywalkers, and explore the weird, wild galaxy it once promised — the Force won’t just be asleep.

It’ll be forgotten.

Introducing VISTA: A New Way to Think About Storytelling Systems

For years, I’ve watched the entertainment industry operate like a billion-dollar lemonade stand—unbelievably powerful, wildly influential, but built on shaky tables and sticky fingers. It’s an industry full of brilliance, passion, and jaw-dropping talent... yet somehow allergic to structure, consistency, or long-term vision.

I’m not here to complain about it—I’m building something to fix it.

It’s called VISTA, short for Versatile Integrated Storytelling Architecture. It's a creative operating system designed for the kind of worldbuilding we’re all doing now—stories that span across film, television, games, comics, novels, digital media, and beyond. The kind of IP that lives in universes, not just episodes.

I won’t pretend VISTA is a silver bullet—but it is a foundation. A way to help creators manage the madness of modern storytelling without compromising the art. It’s built to support creative alignment across teams, maintain continuity across mediums, and preserve the integrity of a vision over time. It’s not about replacing writers or automating creativity—it’s about creating clarity, coherence, and control in the process.

Over the last year, I’ve been quietly developing VISTA as a tool not just for myself, but for other storytellers who are tired of building empires on scattered Google Docs, mismatched PDFs, and mental duct tape. We need better. And if Hollywood won’t build it—we will.

The entertainment industry is shifting. The walls between mediums are disappearing. The speed is breakneck. Audiences are sharper, more invested, and more connected than ever. And the truth is: winging it doesn’t cut it anymore. Chaos isn’t charming. It’s a bottleneck.

What I’m building with VISTA won’t fix every problem overnight. But it’s a start. A structure. A system built with the storyteller in mind—scalable, flexible, and designed to make the impossible just a bit more possible.

If you’ve ever dreamed in cross-medium arcs, struggled to keep your universe straight, or just want to stop losing sleep over story bibles that never get updated—VISTA’s for you.

More soon. Until then—build boldly.

In person networking event next week in the East Valley.

RSVP here